Concerning
our identity between East and West (in Hebrew)
In: Research into Music [Publication of the Composers'
League] Tel Aviv, June 1982

A very early article by the composer in which she states
her own Credo and that of the community of composers of
art music in Israel. This was at the time when her musical
language was beginning to be recognized. [For original
article:
TF/East&WestHeb.pdf , English translation:
TF/East & WestEng.pdf ]

A short testimony for the readers of Gitit, a music journal
for the younger generation. It describes the moment at
a particular point in history when Tsippi Fleischer felt
obliged to compose her Oratorio 1492-1992.

Is
there a future for women in music?
[quoting the composer's lecture in MusicAlaskaWomen Conference,
August 1993].
In: International League of Women Composers Bulletin.
USA, October 1993.

The composer underwent a fascinating experience when invited
to an international conference for women composers held
in Fairbanks, Alaska, August 1993. The performance of
her works - Ballade on Expected Death in Cairo
[op. 20] and Resuscitation [op. 6] - was received
very warmly. She made a provocative speech on the future
of women in composition, reported verbatim in this article.

"The
Gown of Night" (in Hebrew)
[A review to which the first publication of the score
is attached. This score recreates the structure of the
magnetic tape].
In: Issue No. 6 of the bulletin Archive of Israeli Music
[Faculty of the Arts, Tel Aviv University] Tel Aviv, 1994.

The Gown of Night [op. 21, also op. 42], the magnetic
tape based on the voices of Bedouin children, appears
in the survey of the composer's testimony describing the
work's structure and the fascinating process of its development.
Of interest: the score in which the magnetic tape is reconstructed.

The
Kuopio-Finland International Seminar
In: International League of Women Composers Bulletin.
USA, February 1995.

In the summer of 1994 the composer was sent by the Israel
government as its representative to the Kuopio Festival
in Finland where she was hosted by the Finnish government.
The contents of her talk on Oratorio 1492-1992
integrated extremely well into the conference taking place
concurrently with the festival and which dealt with the
connection between the three religions: Judaism-Christianity-Islam.
This article describes Fleischer's vivid impressions of
the conference and festival. [For full article:
TF/KuopioEng.pdf ]

The
cantata "Like Two Branches"
In: International Choral Bulletin. Namur (Belgium), October
1996.

A comprehensive analysis of her landmark cantata Like
Two Branches [op. 24]; the article surveys many aspects
of the work also utilizing an in-depth analysis prepared
as a seminar project by Shulamit Feingold at Tel Aviv
University. Many music examples are included. The complete
article was translated into German and French and was
thus made available to choir conductors throughout the
world.

The
Cantata "Like Two Branches" (enlarged)
Vocal music composed in Israel to Arabic texts - how vocal
art music draws inspiration from its environment in the
Middle East. Published by the author, Haifa, October 1997.

The article surveys in great detail the sources of inspiration,
the process of composition, structure of the text, and
the musical and stylistic structure of the cantata
Like Two Branches. It abounds in musical examples
(both from the score itself and from other sources) and
in rare graphic components. This is a testimonial of extreme
significance written by the composer herself about her
most important work. It was written four years after the
cantata's premiere recorded on a disc issued by Schwann
Koch Aulos (3-1420-2). The article was commissioned by
the International Choral Bulletin where it appeared in
a shortened form. Here it is given in its original unedited
version. [For full article:
TF/LikeTwoBranchesEng.pdf]

Structural
aspects of my music as Illustrated in the tape work of
"The Gown of Night" and the cantata "Like Two Branches"
In: Organised Sound (Cambridge Univ. Press). Cambridge,
Great Britain, April 1998.

A long 42-minute work - the cantata Like Two Branches
[op. 24] and a short 2'40"-minute work - The Gown of
Night [op. 21/42] are presented side by side as a
basis for debate on the structural effects in Tsippi Fleischer's
compositions. The bulletin Organised Sound of Cambridge
University is distributed widely and read by composers
and musicians of note throughout the world.

From
the Local to the Global - The Structural Aspect of my
Musical Compositions: An Examination of my tape work of
"The Gown of Night" and the cantata "Like Two Branches"
(in Hebrew)
In: Mafetah (Key) - Journal of Music Teachers, vol. 3. Jerusalem: The Ministry of Education, January 1999

In this article, the composer introduces two compositions
based on Arabic texts - the magnetic tape "The Gown
of Night" (1988) and the cantata "Like Two Branches"
(1989). The article surveys the two works' compositional
process and sources of inspiration, and reflects on the
primary analytical aspects. The author also points out
the pedagogic aspects of her composition. In an appendix
to the article, the composer describes her encounters
with three world-renowned performers - oboist Heinz Holliger,
cellist Siegfried Palm and kanun player Vartuhi Lepejian
- which formed part of the compositional process. http://tinyurl.com/2vn2jzw

An extensive interview with the composer, highlighting
the surges of creativity throughout her life. This took
place during her stay in Frankfurt in July 2003 while
she was hosted by the Frau und Musik Archive and dealt
with early publicity prior to the staging of her opera
Medea in its European premiere in Oper Koeln about
half a year later. [For full article:Viva
Voce]

Many years after the compositional process and after the
publication of detailed analyses, the composer feels that
her cantata Like Two Branches to a text by the
Bedouin poetess Al-Khansa [6th century, Arabian peninsula]
may possibly be the work by which her place/importance
in world art music will be determined. This is discussed
in her revealing article, with a contemporary look towards
the past and the future.

The composer reviews from a personal point of view her
association with Sasson Somekh, the researcher and translator
of Arabic literature and poetry, since having been a student
of his at Tel Aviv University in the early 70s. These
encounters signify her direction of many years standing
in the artistic settings of Arabic texts.

A survey of the personal image of each of the three composers
- Matityahu Shelem (Ramat Yohanan), David Zehavi (Na'an),
Yehuda Sharet (Yagur, Neve Yam) - and their contribution
to Hebrew Song. [For full article:
TF/AnakeyKibbutzHeb.pdf, Samples of Sharet's
work:
SharetWork

In
memoriam: Misha Appelbaum (in Hebrew)
In: Bamikhlala [Bulletin of the Levinsky College of Education].
Tel Aviv, March 1993.

A comprehensive survey of the life of Misha Appelbaum,
oldest of Tsippi Fleischer's students, who died in January
1993. [For full article:
TF/MishaAppelbaumHeb.pdf]

Hebrew
Song as an aid to multidisciplinary education (in
Hebrew)
In: Bamikhlala [Bulletin of the Levinsky College of Education].
Tel Aviv, March 1993.

The study of Hebrew Song embraces a variety of fields:
Hebrew poetry, the Bible, nature, geography, and more.
This diversity, especially in the sphere of education,
makes for a great deal of multidisciplinary interaction.
[For full article:
TF/ZemerIvriKe'emtsaiHeb.pdf ]

An
encounter between Arab music and Western Music? (in
Hebrew)
In: Bamikhlala [Bulletin of the Levinsky College of Education].
Tel Aviv, June 1993.

Because of the basic differences in the domain of texture,
rhythm and tonal units between musical cultures in the
West and the East, the question arises: is it possible
to create some kind of homogeneity from the two? [For
original article:
TF/Arab&WestMusicHeb.pdf , English translation:
TF/Arab&WestMusicEng.pdf ]

In the framework of Yad Ben Zvi's "Idan" series that deals
with the history of Zionism, songs of the Jezreel Valley
(the Emek) are discussed, reflecting as they do, the way
of life in the Emek and its kibbutzim during the years
1900-1967. [For full article:
TF/HaemekHuHalomHeb.pdf ]

To
nurture the student's creative potential (in
Hebrew)
In: Bamikhlala [Bulletin of the Levinsky College of Education].
Tel Aviv, February 1994.

The "tour of sounds" in Jerusalem during the weekend of
November 19-20, 1993 (organized for students of the Levinsky
College of Education), intensified the musical/sensory
experience by direct exposure to sounds of Jewish, Christian
and Islamic liturgy. [For full article: TF/LiftoachTsoharHeb.pdf ]

From
the 50s to the 60s: The Changeover in Hebrew Song [1957-1964]
(in Hebrew)
In Bamikhlala [Bulletin of the Levinsky College of Education].
Tel Aviv, March 1995

From the fields to the concert hall, from playing the
accordion to the recording studio - these developments
reflect the huge changeover that took place in Hebrew
Song from the 50s to the 60s. [For full article:
TF/MahapachHeb.pdf ]

Central to Tsippi Fleischer's educational Credo is the
placing of the student as subject of the lesson; it is
the student who is the focus of the teacher's endeavors.
TF/Talkit.pdf

The
environment and ourselves from a musical standpoint (in
Hebrew)
In: Bamikhlala [Bulletin of the Levinsky College of Education].
Tel Aviv, June 1999.

The best way to study and understand the world of sound
surrounding us is to experience it by as much active listening
to music as possible and by creative participation; accompanying
the above are conclusions on analytic aspects. [For full
article:
TF/AnahnuVehasvivaHeb.pdf ]

Children's
songs: old and new (in Hebrew)
In: Hed HaGan [Quarterly on the Education of Infants,
published by the Teachers' Association, Kindergarten Teachers'
Division]. Tel Aviv, June 2001.

An extensive survey of children's songs in Hebrew focusing
on Jewish holidays, and the contribution of rock musicians
to the repertoire of these songs. At the end: a detailed
discography of children's songs. [For full
article:
HedHaGan.pdf ]

Songs sung to the words of these two poets - "Tey ve'orez
yesh beSin" - "Tea and rice they have in China" (Shlonsky;
a folksong) and "Anu nos'im lapidim" - "We carry flaming
torches" (Zeev; melody: Mordechai Zeira) were discussed
comprehensively during a study day devoted to the poets'
creativity on the 100th anniversary of their birth. (The
study day was held under the auspices of the Levin Kipnis
Center for Children's Literature, the Levinsky College
of Education, March 1, 2001). This is a shortened version
of Dr. Tsippi Fleischer's lecture. [For full article:
TF/Zeev+Shlonsky.pdf
]

Music
as a link between Judaism and art (in Hebrew)
In: Bamikhlala [Bulletin of the Levinsky College of Education].
Tel Aviv, 2002.

Music as a link between Judaism and art is at the core
of the late Noa Yefet's being. The esteemed educationalist
had been one of Tsippi Fleischer's students; in her memory
and based on Noa's spiritual legacy, Fleischer established
a Study Corner in the Levinsky College. [For full article:
TF/MusicYahadutOmanutHeb.pdf ]

One
star alone (in Hebrew)
In: Oznayim [Library Project of the Music Department,
Ministry of Education and Culture]. Jerusalem, October
2002.

Matti Caspi - an individual yet universal musical figure;
his compositional processes and the facets of his creativity
combined to fashion a particularly important effect in
the music world which, according to Fleischer, justifies
the writing of a book devoted to him alone.

Noa
Yefet is no more: from the curator (in Hebrew)
[Two articles and editing - in the Study Corner in honor
of the late Noa Yefet]. [Levinsky College of Education,
Milev]. Tel Aviv, February 2003.

Deeply moved by the late Noa Yefet's personality, Tsippi
Fleischer describes the process of establishing the Study
Corner dedicated to Noa; the material of the Study Corner
was part of her spiritual legacy and includes many items
in a variety of formats (folders, books, and more). Copies
of the pamphlet are located nearby the Study Corner itself,
"Merhavim" area, room 122 at the Levinsky College of Education.

From the book-in-preparation on Matti Caspi's harmonic
language. The song "Mishehu" - "Someone" (words: Ehud
Manor) is presented here to illustrate the composer's
rich harmonic language.

Nathan
Zakh dressed as a rocker -
Matti Caspi interprets (in Hebrew)
In Peimot [No.1] [Journal for Music and Culture under
the auspices of Tel Aviv University: The Sam Rubin Department
of Musicology - the Buchman-Mehta School of Music - Yolanda
Katz Faculty of the Arts]. Resling Publications, Tel Aviv,
summer 2010.

Two artists who have defined new aesthetic criteria in
Israeli culture came together to form a new artistic conception.
It is presented here by a musical and literary analysis
of two of Nathan Zakh's poems set by Matti Caspi - "Loh"
(No) and "Leil Sharav" (Hot dry night). Musical examples
are incorporated in the article.